Michael Yonkers Band - Microminiature Love (1969 us, twisted cult freak psych, digi pack edition)

Originally recorded in 1968 and slated for release on Sire Records, Microminiature Love languished unreleased until last year, when it was finally unearthed by De Stijl Records (who put out a limited, vinyl-only pressing of the original album). Its creator, Michael Yonkers, is a legendary figure in Minneapolis music-lore, who, through his own modifications, created his own guitars and effects. However, Microminiature Love is no mere curiosity or feat of gadgetry.

Raised on a steady diet of Link Wray and the Trashmen, Yonkers pushed the boundaries of distortion and truly transformed it into a powerful voice. The songs on Microminiature Love defy immediate categorization, but in them are shades of Pere Ubu, the howl of Iggy, the blunt primitivism of the Godz, and the seeds of countless other underground heroes.

Michael Yonkers started his musical career as the leader of Michael & The Mumbles, who played proms and dances all over the Twin Cities area. Constantly refining and re-imagining their sound, the band gradually morphed into the Michael Yonkers Band with Michael’s brother Jim Yunker on drums and Tom Wallfred on bass. In 1967, Michael cut his Telecaster down to a plank; one of the many modifications he made to his equipment. He still plays this same guitar on stage today.

Soon enough, the band hooked up with Peter Steinberg, a local music impresario, who set them up with a contract with Sire Records. As Cecile Cloutier points out in her thorough piece from Minneapolis’ City Pages, this was one of many times throughout the course of rock history that the fertile music underground was being mined by the majors. At the time, bands like The Fugs, Captain Beefheart and The Mothers of Invention had major label deals. For various reasons that remain unclear, dealings with the label fell apart and they and the band parted ways.

Yonkers continued to record and released several solo records on his own label, including Grimwood, Michael Lee Yonkers and Goodby Sunball in the early seventies. In 1971, Michael’s back was broken in an on-the-job accident in an electronics warehouse. Years of ongoing exploratory surgeries have done nothing to help the situation, instead ultimately disabling him further. His allergic reaction to the dye used in an X-ray procedure led to a degenerative condition of his spinal cord lining from which he suffers to this day. Dance has proven to be Yonkers’ greatest therapy and he has, as a result, been active in the Minneapolis dance community for years.

In 1997, Get Hip Records released a collection of songs recorded at Richfield, MN’s Dove Studios called Free Flight: Unreleased Dove Recording Studio Cuts 1964-69. The collection contained two of the songs heard on Microminiature Love; “Puppeting” and the anti-Vietnam War song “Kill the Enemy.” These tracks caught the attention of De Stijl’s Clint Simonson and launched a search for Yonkers that lasted over a year. Simonson eventually located Yonkers not through the music community, but through the local dance community.

Michael Yonkers still resides in St. Paul, MN and has recently played shows with such diverse bands as Wolf Eyes, Six Organs of Admittance and Low.

Sub-pop

Tracks
1. Jasontown - 2:41
2. Microminiature Love - 3:02
3. Boy in the Sandbox - 3:45
4. Smile Awhile - 4:25
5. Returning - 3:50
6. Puppeting - 3:07
7. Kill the Enemy - 3:39
8. The Clock Is Running - 4:08
9. My House - 3:12
10.Hush Hush - 3:50
11.Sold America - 3:36
12.The Thunder Speaks - 4:43
13.Scat Jam - 4:19
All compositions by Michael Yonkers

Band
*Tom Wallfred - Bass
*Michael Yonkers - Electronics, Guitar, Vocals
*Jim Yunker - Drums

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Heaven And Earth - Refuge (1973 us, lovely sunny folk with angelic vocals)

 This reissue has been a long time coming, in no small part because we wanted it to be perfect. We’re happy to finally be able to announce the re-release of this psychedelic folk/funk beauty from 1973, featuring the gorgeous voices of Pat Gefell and Jo D. Andrews (and produced by Space Age percussionist/composer Dick Schory for his short-lived but influential Ovation Records imprint).

At one time this was an album completely unknown outside of Chicago, where the label was based; but these days, word gets around, and tracks like ‘Feel The Spirit’ and ‘Jenny’ have been making the rounds on the DJ circuit. No matter what your musical taste is—psych-folk, funk, soft rock—this LP seems to have something special to offer.

This is due in part to notable backing from veterans like bassist Phil Upchurch (Curtis Mayfield, Otis Rush, Stan Getz, Groove Holmes, and Cannonball Adderly), and space age pop maven Bobby Christian on drums and percussion. But primarily, the perfection that this album emanates is due to the clear voices and intelligent songs crafted by Gefell and Andrews.

The replica LP version (another fine collaboration between Lion Productions and Vintage Records) comes in an old style tip-on gatefold jacket with lyrics printed inside, and includes an insert packed with band history and rare photos. It is a quality vinyl pressing, newly mastered from the original tapes; the sad news: this LP version is limited to 750 copies.

Light In The Attic

Tracks
1. Jenny (Jo D. Andrews, Pat Gefell) - 3:23
2. Voice In The Wind (Pat Gefell) - 2:40
3. To A Flame (Stephen Stills) - 2:33
4. Tomorrow Is A Long Time (Bob Dylan) - 4:14
5. Refuge (Jo D. Andrews, Pat Gefell) - 2:38
6. Sixty Years On (Elton John, Bernie Taupin) - 3:50
7. Song For Craig (Pat Gefell) - 2:51
8. Tell Me How To Know You (Jo D. Andrews, Pat Gefell) - 2:47
9. A Light Is Shining (Charles Chittenden, Jo D. Andrews) - 2:40
10. Feel The Spirit (Jo D. Andrews, Pat Gefell) - 4:47  
11. Voice In The Wind (Single Mix) - 2:36
12. Jenny (Single Mix) - 2:57
13. Home For Christmas - 2:58
14. Country Women - 2:28
15. We All Need A Friend - 1:57
16. You're The Reason - 2:28
17. Unknown - 2:58
18. Joy - 3:11
19. Jenny (Alternate Take) - 3:33
20. Voice In The Wind (Alternate Take) - 1:41
21. Refuge (Alternate Take) - 2:23
22. Song For Craig (Alternate Take) - 2:48
23. A Light Is Shining (Alternate Take) - 2:59
24. Country Women (Alternate Take) - 2:26
25. Hawg For You Baby - 2:11
Tracks 1-10 original album
Bonus Tracks 11-25

Musicians
*Pat Gefell  - Guitars, Vocals
*Jo D. Andrews  - Vocals
*Charles Chittenden  - Guitars
*Bobby Christian  - Bongos, Congas, Percussion
*Jorge Dalto  - Clavinet, Piano
*Joseph Golan  - Violin
*Arthur Lauer  - Arp Echoplex, Flute
*Samuel Magad  - Strings
*Jerry Sabransky  - Strings
*William Schoen  - Strings
*Joseph Sciacchitano  - Strings
*Don Simmons  - Drums
*Fred Spector  - Strings
*Ron Steele  - Guitars
*Phil Upchurch  - Bass
*George Andrews  - Organ

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UFO - Live (1972 uk, excellent hard bluesy rock, 2008 Repertoire edition)

 One of the most entertaining hard rock groups of all time, UFO quickly became a popular touring band throughout the world. This rare live recording features six scintillating performances by the group blasting on all cylinders. Kicking off with a spirited version of Eddie Cochran’s ‘C’mon Everybody’ followed by Bo Diddley’s ‘Who Do You Love’, the openers typify the heavy rock band’s R'n'B roots.

With charismatic vocalist Phil Mogg at the helm, this album documents a classic rock band at its best. “Live’ was recorded back in the days when we didn’t have any roadies and had to carry their own gear to every gig.”

Live (later re-issued as UFO Lands In Tokyo), was originally only released in Japan in 1972, soon after Mick Bolton left the group, and UFO set out to find a guitarist who could provide the band with a more standard rock sound.
Repertoire-recs

Tracks
1. C'mon Everybody (Jerry Capehart, Eddie Cochran) - 4:10
2. Who Do You Love (Ellis McDaniel) - 9:00
3. Loving Cup (Paul Butterfield) - 5:10
4. Prince Kajuku/The Coming Of Prince Kajuku (M. Bolton, P. Mogg, A. Parker, P. Way) - 8:20
5. Boogie For George (Bolton, Mogg, Parker, Way) - 11:30
6. Follow You Home (Way) - 6:00
7. Loving Cup (Single Edit) (P. Butterfield) - 3:58

UFO
*Phil Mogg - Vocals
*Mick Bolton - Lead Guitar
*Pete Way - Bass
*Andy Parker - Drums

1970  UFO 1 (2008 Repertoire remaster)

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UFO - UFO 1 (1970 uk, great blues acid psych space rock amalgam, 2008 Repertoire remaster)

There have been in the history of rock music bands, which, like a UFO and Scorpions,international career took off with racial progressive album, and after his "birth" music coalition will decide to move to a different area of ​​styling. Sometimes, listening to metal or hard rock albums of these groups completely forget about their progressive origins. Their titled first album debuted in 1970 and was a typical example of blues and boogie based hard rock.

UFO is a British group, which does not need to specifical recommend - for any lover of hard rock classics. The team has been working since 1969 and making music, which is a brilliant combination of classic hard rock sounds of the NWOBHM influences, thus creating an exciting new quality. That UFO remained an unattainable model for the whole spectrum of heavy metal bands active in the 80s. The inspiration achievements UFO openly to such artists such as Steve Harris of Iron Maiden, Kirk Hammett of Metallica and Dave Mustaine of Megadeth.

But let's start from the beginning, that is, the creation of formation and its artistic assumptions. The period of, in which there was to assumptions formation dates back to years in 1969, and her Initial name was the Hocus Pocus. After several months of a change of honoring in this way one of the London clubs with the logo of a UFO, where they were spotted by Noel Moore, who signed them to his Beacon Records label. Debut of "UFO 1" album included a heavy version of Eddie Cochran's classic, "C'mon Everybody" was maintained in hard rock style, full of energy and guitar poweru. Did not cause the expected resonance in the UK and the USA, the most wanted musicians, but the band turned out unexpectedly rock fans in Japan (especially the single "C'mon Everybody" which became a huge hit there) and Germany (the song "Boogie For George", also from the first album, reached #30 in German singles charts

With UFO 1, the band's sound incorporates a lot of the psychedelia of the 1960's and combines with a glimpse of the hard rock that will come. The albums opening track is pure space rock. Had this song been on any Hawkwind album, it would have fit right in. However, with "Boogie" and "Timothy" there is a glimpse of the hard rock that is to come. "Who Do You Love" is a seven and a half minute trip down psychedelic days gone by. (Probably best left that way!)

Pete Way's bass is prominent throughout this CD, bouncing along with a hippie, trippie, vibe. His bass is sometimes the glue that even binds these songs together with Mick Bolton often dropping out of the song all together or going off into somewhat accomplished 60's-style guitar solos. Phil Mogg sounds the same as he always has on this early platter. His smooth distinctive voices is one of the few clues that this is even a UFO record. Much like Hawkwind, UFO's early material had a sort of sci-fi image to it. Give it a listen, and turn on, tune in , and drop back to a time when the winds of change were a coming.

by Adamus67

Tracks

1. Unidentified Flying Object (Pete Way, Phil Mogg, Andy Parker, Mick Bolton) – 2:19
2. Boogie (Way, Mogg, Parker, Bolton) – 4:16
3. C'mon Everybody (Eddie Cochran, Jerry Capehart) – 3:12
4. Shake It About (Way, Mogg, Parker, Bolton) – 3:47
5. (Come Away) Melinda (Fred Hellerman, Fran Minkoff) – 5:04
6. Timothy (Way, Mogg, Parker, Bolton) – 3:28
7. Follow You Home (Way) – 2:13
8. Treacle People (Bolton) – 3:23
9. Who Do You Love? (Ellas McDaniel) – 7:49
10.Evil (Way) – 3:27

UFO
*Phil Mogg - Vocals
*Mick Bolton - Guitar
*Pete Way - Bass
*Andy Parker - Drums

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Dark - Teenage Angst The Early Sessions (1969-71 uk, raw fuzzed psych)

 

 

 Dark are a bygone band from a bygone but very beloved era. Their psych-rock is represented here by eleven songs—by two different lineups—that predate their 1972 album Teenage Angst. The only common element is guitarist-vocalist Steve Giles. The first five tracks were recorded in 1971 by the trio of Giles, bassist Carl Bush, and drummer C. Thornycroft.

 

The last six tracks are from 1969, and probably sequenced this way due to the shabby quality of those recordings. The ’69 cuts were recorded by Giles and a different backup unit: organist Martin Moloney, bassist Bruce Duncan, and drummer Charlie Hiams.

 

 “In The Sky,” “Wasting Your Time,” and “Could Have Sworn” are built upon loose “jammy” structures, fuzz-drenched guitar, and leaden basslines—a very familiar formula. “Maypole” kicks things up a notch with a melodic bass lead, plodding cadence and a cool wah~fuzz guitar solo.

 

The next pair of tunes (from 1969) rooted by Martin Moloney’s velvety organ tone. An earlier, version of the first half’s best song, “Maypole,” appears here with a slacker, undermixed guitar solo, and an obnoxious fadeout at the middle, akin to experiencing a space-time warp. Bowl haircuts whip themselves into a collective frenzy with the unproduced acid rock jam, “Bad Taste,” (also anointed with a theremin-charged ending).

 

“Grey Man” and “Cloud Of Unknowing” round out the set, and are barely listenable due to the lowest of production values, complete with dropouts, incomprehensible vocals, teetering signal limits, and all that nonsense. This kind of rawness is testament makes Dark an interesting piece of nostalgia.
by Elias Granillo

Tracks
1. In The Sky - 04:22
2. Wasting Your Time - 05:03
3. Could Have Sworn - 04:57
4. Maypole - 05:54
5. R.C.8. - 03:58
6. All Through The Night - 03:11
7. I'm Not Sad - 06:46
8. Maypole - 04:46
9. Bad Taste - 05:29
10.Grey Man - 05:13
11.Cloud Of Unknowing - 15:20

Dark
*Steve Giles - Guitar
*Carl Bush - Bass (Ttacks 1-5)
*Clive Thorneycroft - Drums (Ttacks 1-5)
*Bruce Duncan - Bass (Ttacks 6-11)
*Charles Hiams - Drums (Ttacks 6-11)
*Nartin Moloney - Organ, Vocals (Ttacks 6-11)

1972  Round The Edges

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Rory Gallagher - Against The Grain (1975 ireland, remarkable blues rock, 2018 bonus tracks remaster)

 Rory's seventh album catches him in sparking form. He had released the hugely successful 'Irish Tour' album a year earlier, recorded with the great Albert King at the Montreuxm Music Festival and had just negotiated a new deal with Chrysalis Records. Rory was now established as a major solo artist and was producing some of the best live and studio performances of his career. 'Against The Grain' perfectly captures the enthusiasm and emotion of the time.

 

"All Around Man" was written by Bo Carter, one of the original members of the Mississippi Sheiks, a band Rory greatly admired and pays tribute to on 'Photo Finish'. This inspired cover version features a great Lou Martin solo.

 

"Watching the sky with tears in my eyes, I feel lonely

Time's flying by, but I start to smile, it's not easy"

The demise of Taste is described in "At The Bottom". It had been nearly five years since the split, but it is clear in the lyrics that Rory was only just coming to terms with that time in his life.

Last Of Independents

Tracks
1. Let Me In  - 4:03
2. Cross Me Off Your List  - 4:26
3. Ain't Too Good  - 3:54
4. Souped-Up Ford  - 6:24
5. Bought and Sold  - 3:24
6. I Take What I Want (Porter, Hodges, Isaac Hayes) - 4:22
7. Lost at Sea  - 4:06
8. All Around Man (Bo Carter) - 6:14
9. Out on the Western Plain (Leadbelly) - 3:53
10.At the Bottom  - 3:18
11.Cluney Blues - 2:12
12.My Baby, Sure - 2:55
All tracks composed by Rory Gallagher; except where stated
Bonus tracks 11-12

Musicians
*Rory Gallagher - Guitars, Vocals
*Gerry McAvoy - Bass
*Lou Martin - Keyboards
*Rod de'Ath - Drums, Percussion

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Caravan - If I Could Do It All Over Again, I'd Do It All Over You (1970 uk, brilliant canterbury progressive jazz rock, SHM remaster with bonus tracks)

 'If I Could Do It All Over Again, I'd Do It All Over You' was Caravan's second album. Their self-titled first LP, for Verve (home of Bird, Ella and the Velvets, natch) had held some promise, but was underproduced and underpowered: some great songs ('Place Of My Own', 'Love Song With Flute') and a lot of filler*.

A move to Decca two years later brought a much more assured and distinctive sound, however. Indeed, this record perfectly bridges that awkward gap between psych and prog, being every bit as much of a muso-fest as their more illustrious (and dull) Melody Maker poll winning rivals could boast, but - and it's a big but - full of good, old fashioned, acid-fuelled SONGS WITH TUNES. And what tunes. I wanna elect Pye Hastings as the great lost English songsmith of our time. But I digress.

The title track starts proceedings. And a catchier little ditty is impossible to find. One of those songs where one hearing alone lodges itself into your brain for life. I bet there are people out there who may have heard that 'Who - do - you - think you are - do - you - think you are' refrain on Top Gear or similar back in 1970, have never heard it since, and could sing it from memory even now.

It's got a well-weird time signature a la the grossest excesses of Messrs Emerson and Greenslade (and a keyboard solo likewise) but, like the best Canterbury tunes, you can't fail to move to it. In an ideal world this would have knocked Mungo Jerry and the sodding Archies into the remainder bins straight away, and would be a perennial feelgood oldie 45. It was a single, by the way. It sold, by my conservative estimate, two copies.

Then things move up...nah, they rocket ten miles high. 'And I Wish I Were Stoned' is a cracking example of the aforementioned songwriting genius. On first impressions, a simple, repeating upward verse (sung in the rustic tenor of Richard Sinclair) with a corresponding decending chorus (sung in the charmingly strained alto of the mighty Pye), it follows the first song in avoiding 4/4 altogether, not so's you'd notice though. Okay, this one might take TWO hearings this time, but then I'd defy you to not be singing it the next morning.

The only thing that might stop you is the fact that the segued 'Don't Worry' that follows is THE MOST WONDERFUL TUNE EVER WRITTEN IN THE HISTORY OF MANKIND. Well, since Schubert's Rosamunde Overture anyway. There is no justice in this world that this perfect song hasn't been covered a hundred times since and earned its composers a fortune. Just hear it, please. The two tracks together constitute the best eight minutes of psych-tinged rock that my stylus has ever ploughed.

After such an early peak, things have to go downhill, but not far. A phased, stereo-panned drum sequence leads into the deadly slow 'As I Feel I Die' where "everything's going a slight shade of purple" and the downers take hold. Not for long though. Another fatally catchy (and blatantly jazz-based) riff forms the basis of the remainder of the song, and, as on every track before and after, Dave Sinclair takes over with an organ solo that tells Ray Manzarek the news.

And the side ends with the 'With An Ear To The Ground You Can Make It' sequence, another blisteringly tuneful epic with the best keyboard sequence of the whole album three minutes in. The slower, flute-accompanied reprise of the main tune is pure delight, before the piece ends with what sounds like Rick Wright falling asleep at Keith Jarrett's Koln Concert.

Side Two starts with two short, nice-but-inessential tracks in 'Hello Hello' and 'Asforteri', the former being the better of the two and Richard Sinclair's only real vocal spotlight on the album (he was to have a much greater showcase on the excellent 'In The Land Of Grey And Pink' album twelve months later). But his name is immortalised on the longest and most famous (in Caravan and Canterbury terms, you understand) track on the record that comes next. 'For Richard' starts slowly, quietly, and menacingly, not a million miles away from the Floyd's 'Careful With That Axe, Eugene' epic on 'Ummagumma', but with another otherwise tender, melodic vocal with flute obligato.

Then, like 'Eugene', the intensity slowly increases, until, 3'40" in, comes...THE RIFF. And here, more than at any point on the record, Caravan rocks. The track palls a little as the solos progress (and god, do they progress) but comes to life again in the guitar-driven coda that emerges after ten minutes or so. The album ends with the pointless half-song that is 'Limits'. Never mind.

The 14 minutes that comprise 'For Richard' have become the staple of every Caravan live set to this day, but that track is a muso-fest only as far as I'm concerned. The real meat and two veg of Caravan's second album is the almost faultless sequence of SONGS that comprise Side One, essential listening for anyone with an interest in the latter days of sixties drugrock.

by Fitter Stoke

Tracks
1. If I Could Do It All Over Again, I'd Do It All Over You - 3:07
2. And I Wish I Were Stoned - Don't Worry - 8:21
3. As I Feel I Die - 5:17
4. With An Ear To The Ground You Can Make It / Martinian / Only Cox / Reprise - 9:56
5. Hello Hello - 3:46
6. Asforteri 25 - 1:21
7. Can't Be Long Now / Francoise / For Richard / Warlock - 14:18
8. Limits - 1:34
9. A Day In The Life Of Maurice Haylett - 5:40
10.Why? - And I Wish I Were Stoned - 4:22
11.Clipping The 8th - Hello Hello - 3:13
12.As I Feel I Die - 4:39
All songs by Richard Coughlan, Pye Hastings, Richard Sinclair and Dave Sinclair.

Caravan
*Richard Coughlan - Drums, Congas, Bongos, Maracas, Finger Cymbals
*Pye Hastings - Vocals, Guitars, Claves
*David Sinclair - Keyboards
*Richard Sinclair - Vocals, Bass, Tambourine
Guest
*Brother James - Sax, Flute

1968  Caravan (japan SHM-CD remaster)

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Child - Child (1968 us, stunning heavy psych, 2001 edition)

 Short lived band released this one and only album in the late sixties. The sound is close to Vanilla Fudge heavy psych with floods of organ tight rhythm section and dramatically vocals.

Tracks
1 Hold On I'm Coming (David Porter, Isaac Hayes) - 5:05
2 Little Light (Mike Lewis) - 3:52
3 Aunt Millie (The Child) - 3:15
4 You'll Never Walk Alone (Richard Rodgers, Oscar Hammerstein) - 3:15
5 Soft Rocks (The Child) - 4:05
6 Exodus (Ernest Gold, Pat Boone) - 4:30
7 A Child Begins to Cry (The Child) - 3:37
8 Ol' Man River (O. Hammerstein, Jerome Kern) - 6:34

Child

*Teddy Graybill - Lead Vocals

*Paul Alagna - Lead Vocals, Guitar, Harmonica

*Frances "Chick" Rizzo - Bass

*Thomas "Tommy" Cruz - Drums, Percussion

*Joseph "Joey" Merone - Organ, Piano, Chimes

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Love - Love (1966 us, amazing garage acid psych folk rock, remaster and expanded)

 One of the best West Coast folk-rock/psychedelic bands, Love may have also been the first widely acclaimed cult/underground group. During their brief heyday -- lasting all of three albums -- they drew from Byrds-ish folk-rock, Stones-ish hard rock, blues, jazz, flamenco, and even light orchestral pop to create a heady stew of their own.

They were also one of the first integrated rock groups, led by genius singer/songwriter Arthur Lee, one of the most idiosyncratic and enigmatic talents of the '60s. Stars in their native Los Angeles and an early inspiration to the Doors, they perversely refused to tour until well past their peak. This ensured their failure to land a hit single or album, though in truth the band's vision may have been too elusive to attract mass success anyway.

Love was formed by Lee in the mid-'60s in Los Angeles. Although only 20 at the time, Lee had already scuffled around the fringes of the rock and soul business for a couple of years. In addition to recording some flop singles with his own bands, he wrote and produced a single for Rosa Lee Brooks that Jimi Hendrix played on as session guitarist. Originally calling his outfit the Grass Roots, Lee changed the name to Love after another Los Angeles group called the Grass Roots began recording for Dunhill. Love's repertoire would be largely penned by Lee, with a few contributions by guitarist Bryan MacLean.

Inspired by British Invasion bands and local peers the Byrds, Love built up a strong following in hip L.A. clubs. Soon they were signed by Elektra, the noted folk label that was just starting to get its feet wet in rock (it had recorded material by early versions of the Byrds and the Lovin' Spoonful, and had just released the first LP by Paul Butterfield). Their self-titled debut album (1966) introduced their marriage of the Byrds and the Stones on a set of mostly original material and contained a small hit, their punk-ish adaptation of Bacharach/David's "My Little Red Book."
by Richie Unterberger

Tracks
1. My Little Red Book (Burt Bacharach, Hal David) - 2:41
2. Can't Explain (Lee, John Echols, John Fleckenstein) - 3:15
3. A Message To Pretty - 2:09
4. My Flash On You - 2:53
5. Softly To Me (Bryan MacLean) - 2:47
6. No Matter What You Do - 2:07
7. Emotions (Lee, John Echols) - 2:27
8. You I'll Be Following - 2:43
9. Gazing - 2:43
10.Hey Joe (Billy Roberts) - 2:49
11.Signed D.C. - 2:00
12.Colored Balls Falling - 2:41
13.Mushroom Clouds (Lee, John Echols, Ken Forssi, Bryan MacLean) - 3:04
14.And More (Lee, Bryan MacLean) - 2:33
15.My Little Red Book (Burt Bacharach, Hal David) - 2:41
16.Can't Explain (Lee, John Echols, John Fleckenstein) - 3:14
17.A Message To Pretty - 2:10
18.My Flash On You - 2:58 
19.Softly On Me (Bryan MacLean) - 2:47
20.No Matter What You Do - 2:02
21.Emotions (Lee, John Echols) - 2:26
22.You'll Be Following - 2:26
23.Gazing - 2:42 
24.Hey Joe (Billy Roberts) - 2:42
25.Signed D.C. - 2:47
26.Colored Balls Falling - 1:56
27.Mushroom Clouds (Lee, John Echols, Ken Forssi, Bryan MacLean) - 2:26
28.And More (Lee, Bryan MacLean) - 3:05 
29.Number 14 - 1:47 
30.Signed D.C. (Alternate Version, Previously Unissued) - 2:50
All songs by Artur Lee unless as else written.
Tracks 1-14 Mono Mix
Tracks 15-28 Stereo Mix
Bonus Tracks 29-30

Love
*Arthur Lee - Guitar, Vocals, Producer
*John Echols - Guitar
*Ken Forssi - Bass
*Bryan MacLean - Guitar, Vocals
*Alban Pfisterer - Drums

related Act
1966-82  Bryan MacLean - Ifyoubelievein

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Rory Gallagher - Irish Tour (1974 ireland, excellent classic live blues rock, 2018 remaster)

 Perfectly capturing the live connection between the audience and performer, ‘Irish Tour’ is not the only one of Rory Gallagher’s best loved albums but is surely one of his greatest live albums ever released. Recorded in 1973 at Belfast’s Ulster Hall, Dublin’s Carlton Cinema and Cork’s City Hall the album shows Rory putting in performances of awe inspiring power, that after 30 plus years still make you yearn to be there, in the audience.

 

In 1974 the ‘troubles’, as they were known, were tearing Northern Ireland apart. Most artists refused to play Belfast, concerned about the all too frequent violence that could erupt. Rory was one of the few performers who could bring both sides together, unifying the crowd through his music. A recent article in a Belfast daily newspaper stated “Rory Gallagher never forgot Northern Ireland, he returned throughout the 70’s when few other artists of his caliber dared not come near the place”.

 

The tour was filmed by Tony Palmer, first envisaged as a TV film, it soon became clear Palmer had a movie with mass appeal. When released in 1974 the film played extensively in the U.K. then spread to Europe, eventually touring along side Rory in America.

 

The songs featured on ‘Irish Tour’ are mainly chosen from Rory’s previous releases. However the album does feature some cover versions of songs by artists such as J.B. Hutto, Tony Joe White and Muddy Waters, who Rory had worked with previously that year. The band live-up for the tour consisted of Rod De’Ath (drums) Lou Martin (keyboards) and Gerry McAvoy (bass).

 

Rory was renowned as a live performer, anyone who saw him play or who’d brought the 1972 ‘Live In Europe’ album knew his reputation was justified. He enjoyed success with his previous five releases, constant touring and plaudits from the press. On ‘Irish Tour’ the maturity forged by his musical development and the belief in his own abilities is palpable. Each member of the band shared the passion and understanding for the music they played, anticipating Rory’s mood and flow perfectly.

 

Throughout ‘Irish Tour’ the guitar tome is outstanding, colourful and hard-hitting, while maintaining a controlled sensitivity. Rory constantly demonstrates his incredible guitar technique. It’s worth mentioning his skilful backing chord work, volume control and his switching of tone, which deepen the musical expression of the album.

by Shu Tomioka

Tracks
1. Cradle Rock (Rory Gallagher) - 7:38
2. I Wonder Who (Morganfield) - 7:52
3. Tattoo'd Lady (Rory Gallagher) - 5:04
4. Too Much Alcohol (J. B. Hutto) - 8:30
5. As The Crow Flies (Tony Joe White) - 6:02
6. Million Miles Away (Rory Gallagher) - 9:29
7. Walk on Hot Coals (Rory Gallagher) - 11:13
8. Who's That Coming? (Rory Gallagher) - 10:05
9. Back on My Stompin' Ground (After Hours) (Rory Gallagher) - 5:18
10.Maritime (Rory Gallagher) - 0:33

Musicians
*Rory Gallagher - Vocals, Guitar, Harmonica
*Gerry McAvoy - Bass Guitar
*Lou Martin - Keyboards
*Rod de'Ath - Drums, Percussion
 

1971  Rory Gallagher (Japan Mini Lp replica)
1971  Deuce (Japan Mini Lp replica)
1972  Live In Europe
1973  Blueprint (Japan Mini Lp replica)
1973  Tattoo (2012 promo copy, high audio quality)
with Taste
1970  On The Boards (Japan SHM edition)

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